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WELLS BOOK ARTS SUMMER INSTITUTE 2016 from the Director WELLS BOOK ARTS SUMMER INSTITUTE 2016

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WELLS BOOK ARTS SUMMER INSTITUTE 2016 from the Director WELLS BOOK ARTS SUMMER INSTITUTE 2016 WELLS BOOK ARTS SUMMER INSTITUTE 2016 From the Director WELLS BOOK ARTS SUMMER INSTITUTE 2016 he book arts are alive and well in select communities While each week is filled with intensive hands-on instruction Tacross the United States and around the world. The Artists and practice, there is also time to relax and enjoy the spectacular and Craftspeople who work in paper, ink, metal, and leather sunsets over Cayuga Lake or swim or take things at your own often practice their craft in private studios and quite often pace. Of course there are people who want to work on their in blissful solitude. They also tend to be very open to teach projects late into the evening and can do so. their skills to others in order to carry on traditional crafts that have been passed along over centuries. Upstate New York is On the heels of the success of last year’s Summer Institute, we fortunate to have several pockets of activity in the various present several brand new classes that have never been offered book arts. In the center of New York State lies Wells Book in our eleven years of hosting the Institute. We hope you can Arts Center. Most of the year, the Book Arts Center is at the join us for what some call “Summer camp for adults.” service of Wells College as one of the programs of distinction where students can take classes and even major or minor in the We are especially grateful for generous support given to the book arts. Every Summer the Wells campus transforms into Summer Institute by Wells College and The Gladys Krieble the Wells Book Arts Summer Institute. Delmas Foundation as well as our sponsors and scholarship auction donors. The Wells Book Arts Summer Institute features multiple week- long workshops where participants can study with any one The following pages present courses you can take and details of a number of practitioners in specialized book arts related on how to register. If you have any questions, please visit our fields. This year we present two weeks each with five courses website at www.wellsbookartscenter.org or contact me directly to choose from. at 315-364-3420 or at [email protected] Richard Kegler summer institute director Session One 17 – 23 July 2016 Introduction to Typecasting and Monotype Composition Michael Bixler This course offers the unique opportunity to learn typecasting at one of the last remaining hot metal Monotype shops in North America. Students will use the Monotype keyboard, composition caster and the Monotype Supercaster to cast and take home their own text and/or a case of type, including fonts of ornaments. This course will be of particular value to letterpress printers who want to experience the full gamut of metal type, from keyboarding, to type casting, to pulling proofs. Please visit the Bixlers’ website at www.mwbixler.com to see specimens of the many Monotype faces available, or call Michael at 315-685-5181 to discuss questions. Students will live at Wells and commute to & from Skaneateles in Wells vans. Limited to five students; no experience in casting required, but letterpress printing experience preferred. Michael Bixler has cast metal type and practiced fine letterpress printing and typography since 1965. He and his wife established their press and letterfoundry near Boston in 1973, and since 1983 have resided in Skaneateles, NY, where they continue to print limited edition books and provide cast metal type to numerous private presses and letterpress printers around the world. Michael is a graduate of Rochester Institute of Technology and teaches letterpress printing at Wells College. Decorative Papers: Paste Paper and Beyond Diane Bond This course will focus on making paste paper but will also explore techniques such as plaster paper, suminagashi and orizomegami. Paste paper is one of the oldest forms of painting and designing the surface of paper using a pigmented paste. It was used for book covers and endpapers. Though some of the ingredients have changed, paste paper offers endless possibilities for creating individualized papers through mark making and patterning. While learning the process of making paste paper, students will experiment with color and design. Plaster paper is a method of painting paper to create a textured surface while suminagashi and orizomegami use inks to create designs. Students will create a compendium of papers and a portfolio to house them. We will discuss applications and uses for our fabulous papers. Diane Bond is a Roycroft Renaissance Master Artisan in book arts. Her experiences as a graphic designer, apprentice bookbinder and art educator along with training with several well known book artists have given her the skills and abilities to create finely crafted functional books as well as artist books. Her work appears in 500 Handmade Books, Volumes 1 & 2 by Lark Publications. Her work is in the collection of the University of Rochester, the Sidney Berger Paper Collection in Boston, Millington Lockwood Business Interiors in Buffalo, and is part of the the Al-Mutanabbi Street Project. She has taught book arts workshops across Western NY and is currently an art teacher in the Orchard Park Central School District. Session One 17 – 23 July 2016 Wood Engraving: Well Crafted Illustration Steven Lee-Davis Wood Engraving was originally developed to illustrate books. Although today the craft of fine-line engraving has largely faded away, it is an art form well worth learning. Wood engraving utilizes special carving tools employed to the end-grain of hard woods resulting in amazingly detailed images that compliment letterpress work. You will learn techniques for carving blocks, creating and transferring imagery, and printing edition prints. You will gain confidence as you practice basic techniques such as tonal development, texture, straight lines, and curves. You will then develop drawings, transfer to the block, engrave, and print. Final images will be proofed and printed on a press. No prior printing experience required, but some drawing ability helpful. Experience with wood-carving, linoleum carving, and intaglio etching a plus. Students will leave with multiple prints and enough skills to work independently. Steven Lee-Davis is a Roycroft Artisan creating limited edition prints. He works in the medium of wood engraving and prints on a Vandercook proof-press or an Albion hand-press. After receiving a Masters of Education at Massachusetts College of Art, he continued his education with an apprenticeship to Barry Moser. It was in Moser’s studio that he learned the craft of wood-engraving. Steven Lee-Davis primarily works on commission creating wood-engraving illustrations. He also teaches workshops and has work in several galleries. Experiential Artists’ Books Scott McCarney Creating a successful artists’ book demands an understanding of the physical elements of the book format in relation to formal visual structures. This workshop will engage participants in holistic approaches that move image-making ideas into innovative bookbinding structures. The week will strive to integrate content, materials, binding techniques and the action of turning pages in time and space into complete and independent works of art. Variations on traditional forms will range from simple pamphlet bindings utilizing unusual folds and inventive sewings to multiple section bindings and concertina structures. Each element of the book will be examined through hands-on experimentation and observation utilizing participants’ choice of images and tools for mark making. Participants are encouraged to bring projects in progress and/or elements for “book experiments.” Scott McCarney is an artist, designer, and educator based in Rochester, New York. He received formal design training at Virginia Commonwealth University in the 197os, and earned an advanced degree in photography from the University at Buffalo/ Visual Studies Workshop (Rochester, NY) in the 1980s. His works can be found in the collections of The Museum of Modern Art, NY; Victoria & Albert Museum, London; and Yale University Art Gallery. His work is shown internationally as well as close to home. His teaching and lecturing extends to Australia, New Zealand, Korea, Mexico, and South America. He currently teaches in the College of Imaging Arts and Science at Rochester Institute of Technology. Session One 17 – 23 July 2016 Pressure Printing and other Contemporary Approaches to Letterpress Brad Vetter Join us in exploring new (and old) techniques in letterpress printing. We will be covering the basics, but also digging deep into some fun alternative image-making using antique type and Vandercook printing presses from the Wells College pressroom. We will focus primarily on Pressure Printing, a non-traditional letterpress technique that creates unique and spontaneous images. Together we will master this process while implementing skills in typography, pattern making and designing for the letterpress. By the end of the week you will have a stack of your incredible prints and some brand new letterpress skills to show off to your friends at home. Brad Vetter is a designer, artist, educator and letterpress printer. After studying graphic design at Western Kentucky University, Brad spent eight years honing his craft at the legendary Hatch Show Print in Nashville, TN, one of the oldest letterpress print shops in the country. Brad left Hatch in 2012 to start his own letterpress and design studio. Bouncing between 18th and 21st century technology and techniques, he continues to hand print rock-and-roll posters while also adding more digital design to his repertoire. Brad frequently lectures and hosts workshops throughout the US as well as teaching college-level design classes. His print work has been shown in such notable venues as the San Francisco MoMA, Massachusetts Museum of Contemporary Art, Columbia College Center for Book and Paper, and the Danish Museum of Media. WELLS BOOK ARTS SUMMER INSTITUTE 2016 SESSION 1 • SESSION 2 Session Two 1924 –– 2530 JulyJuly 20152016 Leather Binding Fundamentals Karen Hanmer The basic structure of a fine leather binding has changed little over the past 300 years.
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